
In the first part of this article, I looked at how Carol P Christ’s Nine Touchstones of Goddess Spirituality from Rebirth of the Goddess are related to traditional women’s ritual dances of the Balkans. After more than thirty years of researching and teaching these dances and the way that they pass on information in encoded symbolic ways, I have come to see them as an educational system, a women’s mystery school.[1] The main message which the dances convey is an ethic of community, partnership, mutual support, and other life-enhancing values aligned with the Nine Touchstones, which can be directly experienced in the dance.
We know from the research of Marija Gimbutas that these values were central to the Old European civilizations which honoured the Goddess, while Yosef Garfinkel and Elizabeth Wayland Barber show that circle dances have their roots in these same early Neolithic cultures of Eastern Europe and the Near East. This leads me to suggest that Balkan women’s circle dances surviving today may have their origin in early egalitarian matriarchal cultures of Neolithic Europe. The Nine Touchstones of Goddess Spirituality provide an perfect template through which to explore the ethics of women’s ritual dances.

From the 1993 Re-Imagining Conference:
A pilgrim leaves home and sets off on a journey, seeking healing, revelation, and direction in her life. She finds companions along the way whose stories reflect her own, validating her quest and shedding light on her journey. According to anthropologists Victor Turner and Edith Turner, pilgrimages have common structural elements. A pilgrim separates from family and friends, work and obligations. She steps across a threshold into “liminal space” in which daily routines are suspended, opening herself to discovering new ways of being and living.
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Though represented by its detractors as an incursion of paganism into Christianity, and presented as an integrally and intrinsically Christian phenomenon by its supporters, the truth about the Re-Imagining Conference and movement is that it was a product of a wider feminist awakening. The critique of patriarchal religions that emerged in the academy and in churches and synagogues in the late 1960s and early 1970s was part of the emerging feminist uprising. The feminist movement placed a question mark over all patriarchal texts and traditions, secular and religious, and as such was beholden to none.
The Goddess is the “All of Creation.” She is the Creatress and the Created. She is the life force of all there is. She is one, whole, and complete. Before Her, nothing was. She arose from the Great Void, the source of all potential, giving birth to Herself before anything else had ever been born. She separated the sky and the water, and She danced. In the ecstasy of Her Dance She conceived of all there is.