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.
When I was 17, I left the US to live and study in Europe for a year, with Womanspirit Rising crammed into my backpack. This book, edited by Carol P. Christ and Judith Plaskow, gave me the solid ground of a feminist worldview which honoured women, the body, and the earth. My favourite chapter was the last one: Carol’s foundational essay ‘Why Women Need the Goddess’, where she writes, ‘The simplest and most basic meaning of the symbol of Goddess is the acknowledgement of the legitimacy of female power as a beneficent and independent power’. These words, indeed that whole essay, became the pole star for my journey through the world, helping me name what was missing in both the academic world and the world of dance.
Today, May 1, we celebrate Beltane, the Celtic festival between the Spring Equinox and the Summer Solstice. Starting tonight, we also celebrate Greek Easter, with its ritual drama of life and death.
In the Western Church, Easter never falls as late as May, but in the Orthodox calendar, Easter and Beltane more or less co-incide every few years. It’s a reminder of connections between Christian and pre-Christian traditions, both in the archetypal cycle of life, death, and regeneration, and in links between the Christian Mary and the pre-Christian Goddess in her various names and forms.
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.
Mosaic of the Nativity
In the west, the customs of confinement and churching have dwindled since the 1960s, but in Greek Orthodox tradition until very recently, these forty days of isolation for mother and child were routine. A special word, lechóna (λεχώνα), from the ancient Greek for ‘bed’ or ‘couch’, denotes a woman in this special time. Continue reading “Forty Days After Childbirth, Mary Returns to the World by Laura Shannon”
In Part One of this article, I described dancing Jewish, Romani, and Armenian dances for forgiveness and reconciliation with groups in Germany and all over the world. I also offered danced rituals of remembrance at former concentration camps and other places scarred by the atrocities of war.
I went to camps including Dachau and Auschwitz, to genocide memorials and sites of massacre throughout Eastern Europe, in Australia, and the Americas. At first, my prayers were private: I brought flowers, lit candles, danced my grief, and spent time in meditation. I tried to visualise the prisoners in those places, sending them my deep sorrow and regret back through time. I wanted to let them know that they are remembered and mourned by people from their future. My prayers contained a fervent apology as well as a soul commitment to do my part in this lifetime to overcome prejudice and stand for peace.
In time I invited others to dance with me for healing and peace. We danced at former camps in Germany, including Bad Gandersheim, a subcamp of Buchenwald, and on many occasions in Steyerberg, a former prison camp and forced-labour munitions factory which is now the site of an intentional community called Lebensgarten (‘Garden of Life’), a centre for permaculture, non-violent communication, and other ecologically and spiritually oriented ways of living.
Armenian Candle Dance with Laura Shannon, Findhorn 2015 (photo: Hugo Klip)
When I first began researching traditional circle dances in the mid-1980s, I was amazed to find that the peoples who have suffered the worst of human experience – oppression, exile, genocide, war – also produce the most vibrant and joyful music and dance. Armenian, Jewish, Kurdish, and Romani (Gypsy) dances, in particular, were passionate affirmations of life, despite the horrors these peoples have gone through in their history. The dances seemed to hold clues to the mystery of moving on with life after trauma.
This was something I was desperate to learn how to do. Barely 20 at the time, I was struggling to keep my dignity and optimism while growing up female in a woman-hating world. The trauma of a violent rape on my 18th birthday had robbed me of my joy for life – but I could experience joy again in those dances.
Early on in my research and teaching, therefore, alongside the women’s dances which were always my main interest, I began to focus on the traditional dances of persecuted peoples, which I called Dances of Exile and Homecoming. These songs and dances seemed to have an inherently therapeutic potential, profoundly moving for people from any background and any culture.
Today, August 1, 2020, is Lammas, the Celtic festival of late summer, the ‘feast of bread’, time of harvest and of golden grain. Here in the UK, Lammas arrives just as we are emerging from our coronavirus lockdown. It’s hard to feel a personal sense of ‘harvest’ when most people’s lives have been on hold since the spring.
Confined to our homes, many people could throw themselves into tending their own gardens (if they had one), but most of us could not cultivate the symbolic gardens of our lives and work in the way that we wanted. Many have faced deep loss, the withering of seeds planted in the past which could not now come to fruition.
Despite the tragic times, the earth continues to dance to the sacred rhythms of sun and moon. The trees are full of fruit, the fields are full of grain. Although I too have had my share of sorrow and grief in recent months, today I feel moved by the season to look at what we can harvest from our experience of the coronavirus pandemic.
My previous post on this site, Trauma Healing through Communal Dance, on February 1, told of a traumatic event and its lingering effects, including insomnia, brain fog, nightmares, tearfulness, migraines, anxiety, and fear. Now I’m hearing reports of similar symptoms from virtually all of my friends who are affected by the trauma of the coronavirus pandemic.
Three months ago, Greek communal dance helped me recover from my traumatised state. Now, nobody has access to communal practices like circle dance to help us get through it.
So how do we heal when we all need healing? When we don’t have access to the things which would normally help us heal?
Circle Dance with Laura Shannon, Germany 2008 (photo: Beate Frey)
There is a lot of talk right now about strategies, small and large, which can keep us sane in this crazy time. Many speak of the ‘silver linings’ we can find in this enforced retreat, and I have found a few myself. But I have also heard from people who aren’t in a safe place, or who just aren’t coping well.
Even if you are blessed with a peaceful home, access to nature, and continuing income, not everyone is made for isolation. The lockdown can be particularly hard on extroverts. And many people may find that high stress levels in this time of separation, loss, and uncertainty awaken old ghosts of unhealed trauma.
My earlier blog named some of the therapeutic aspects of communal circle dance, including connection with others, shared movement synchrony, realignment with ‘my self, my body, my place between heaven and earth, and my home in the human community.’
Armenian Candle Dance with Laura Shannon, Findhorn 2015 (photo: Hugo Klip)
As I wrote in Medusa and Athena: Ancient Allies in Healing Women’s Trauma, “Past trauma can be transformed through ‘physical experiences that directly contradict the helplessness, rage and collapse that are part of trauma’ and which foster a renewed sense of self-mastery. Because trauma tends to be experienced in ‘isolated fragments’, treatment particularly needs to engage the entire organism, ‘body, mind, and brain’.”
So, dancing is perfect. Circle dance, particularly, is my ideal method of trauma healing. But how can we dance without a circle?
A lot of us are dancing on platforms including Skype and Zoom, but the slight time lag with this technology means that true synchrony is impossible; everyone’s movement appears slightly off the beat. Nevertheless, I love seeing cherished faces, talking together, and dancing despite the distance.
My favourite way to dance ‘in circle’ is without any online technology, simply connecting in heart and spirit. Since the start of the lockdown, my network of dance students, friends, and colleagues in different countries have been ‘meeting’ at set times twice daily, and it is deeply moving to join together in this way. We light a candle for loved ones, health workers, key workers, and anyone who is unwell or needs extra support at this difficult time. Then we each dance the same sequence of circle dances, plus our personal favourites. Knowing that my friends are all dancing in their own homes, and that we are all thinking of each other at the same time, is very precious.
Candle (photo: Laura Shannon)
If you too are separated from your loved ones, you can choose a time every day to stop what you are doing so you can think of one another, with no need for online technology. You don’t have to dance; just put on your favourite music and know you are connected.
Doing things you love can also provide an antidote to trauma – cooking favourite foods, lovingly repotting houseplants, or embarking on a fun creative project – anything you enjoy can connect you to your own power and experience of mastery as a source of healing. With my housemates here in Canterbury, we created a beautiful Easter feast – twice, first for Western and then for Orthodox Easter – with photos of our missing loved ones on the table. It was such a simple act, but nourishing on so many levels.
Time in nature connects us with the flow of life force which is in each of us. As we walk outdoors, feeling the earth below and the sky above, we can remember when we have come through challenges in the past, and let those memories reassure us that we will come through this now too. It was the same earth under our feet then, and it’s the same sky around us now and so it will be in the future when all of this is behind us.
Trees (photo: public domain)
Sometimes a larger crisis, like this pandemic, can put things in perspective, and bring us closer to forgiveness and healing. To support this inner process, I have found the Hawaiian indigenous practice of ho’oponopono to be very powerful. Hawaiian scholar and educator Mary Kawena Pukui describes it as a practice of forgiveness and reconciliation, for family members to ‘make right’ broken relations and prevent problems from erupting.
What can we do to foster forgiveness, move beyond blame, and focus on what we have in common? One recent story on the Karuna website tells how rival gangs in South Africa are now cooperating to deliver food to the vulnerable in their community. Amazing!
There is always something we can do, for ourselves and for others. And let’s not forget the larger context: life as we knew it has hit the pause button, and we have a chance to make some different choices in preparation for when we once again press ‘play’. Maybe we will find that all of us – and all of humanity – are suddenly dancing to a more beautiful tune.
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 trained in Intercultural Studies (1986) and Dance Movement Therapy (1990), and is currently pursuing postgraduate studies in Myth, Cosmology, and the Sacred at Canterbury Christ Church University in England. Her primary research in Balkan and Greek villages seeks out songs, dances, rituals and textile patterns which descend from the Goddess cultures of Neolithic Old Europe, and which embody an ancient worldview of sustainability, community, and reverence for the earth. In 2018 Laura was chosen as an Honorary Lifetime Member of the Sacred Dance Guild in recognition of her ‘significant and lasting contribution to dance as a sacred art’. Her articles and essays on women’s ritual dances have appeared in numerous publications, including Re-Enchanting the Academy, Dancing on the Earth: Women’s Stories of Healing Through Dance, She Rises! Vol. 2, Inanna’s Ascent, Revisioning Medusa, and Spiritual Herstories – Call of the Soul in Dance Research. Laura is also Founding Director of the non-profit Athena Institute for Women’s Dance and Culture. She lives in Canterbury, Greece, and the Findhorn community in Scotland.
Medusa and Athena: Ancient Allies in Healing Women’s Trauma in Revisioning Medusa: from Monster to Divine Wisdom, edited by Glenys Livingstone, Trista Hendren and Pat Daly. Girl God Press, 2017, 206-222. www.thegirlgod.com. This excerpt cites Bessel Van der Kolk, The Body Keeps the Score (2014), pp 4, 40, 53.
Mary Kawena Pukui Karuna website: This site collects positive stories in the time of coronavirus. ‘Karuna’ is a Sanksrit word meaning compassion. Their site motto: ‘Karuna spreads faster than corona.’
The last few weeks have been difficult for me. I was already feeling raw from the treatment of refugees in Greece, the upheaval of impending Brexit in the UK, the fires devasting Australia and the Amazon, and so many other tragedies going on in the world. Then on Christmas Day I was thrown completely off balance by someone shouting abuse inches from my face, in a space where I had believed myself safe.
Someone restrained the woman and I made my escape, but the close-up image of her furious screaming face – eyes bulging, spittle flying, chin thrust up, chest thrust out – stayed with me long after the incident.
Like a car accident or other unexpected shock, this scene played back in my memory, night and day. I could not sleep, could not concentrate; I woke with nightmares, burst into frequent tears, suffered a string of migraines, and felt consumed with anxiety and fear.
In the following weeks I tried hard to overcome the trauma and to stop the flashbacks replaying continually in my mind, using all the resources available to me. However, I only really found a cure once I came back to Athens and went with my husband to a night of traditional dance with live music.
I feel deeply fortunate to be able to travel regularly to southern Morocco. In Taroudant in the Souss Valley, and further south in the Anti-Atlas Mountains, my groups of students have the chance to discover women’s cultural traditions including music and dance, weaving and embroidery, household and healing rituals. In the seven years I have been leading these tours, women have joined me from a dozen different countries and as many different faiths, and most of them end up feeling at home here just the way I do.
What makes southern Morocco so special? Many threads come together to create the extraordinary ambience which permeates this part of the country. First of all, there is the Berber influence: a large percentage of Moroccans in the South are Berbers, and many elements of ancient North African Berber culture, with roots in Neolithic times, remain percepible beneath the relatively recent overlays of Arabic culture and Islam.
In my final year of college, my B.A. in Intercultural Studies required me to take a daily accelerated Spanish class. Thus I met Ñacuñán Sáez, the dazzlingly urbane young professor from Argentina who had recently come via Italy and Oxford to our tiny liberal arts college in western Massachusetts. Ñacuñan spoke four languages, adored Maria Callas, and showed up at his first faculty dinner party amongst the snowshoes, mufflers and plaid lumberjack coats of the Berkshire Mountains sporting a white dinner jacket and carrying a bottle of Campari.
Ñacuñán Sáez
Ñacuñán taught with theatricality and flair, keeping us students awake and interested, even at the ungodly hour of 8.30 am each day. The sample sentences he concocted as grammar exercises were gems of Latin American magical realism, provoking laughter as well as thoughtful discussion about different beliefs, realities and worlds.
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 Part One of this article, I described dancing Jewish, Romani, and Armenian dances for forgiveness and reconciliation with groups in Germany and all over the world. I also offered danced rituals of remembrance at former concentration camps and other places scarred by the atrocities of war.
Feminism and Religion 