Tanz der Mänaden, by Lenz Cornelis.
The deities and ettins in us are influenced, strengthened or weakened, by light and sounds, or lack thereof, but also by movement. Rhythmic movements will help create harmony in the mind, and is even instinctively used for that by e. g. individuals with autism, when they cross the limit for what sensory input they can take (as discussed here). To block out and escape the sensory chaos and re-establish the equilibrium of the mind they can start to move rhythmically, as were they catatonic. It is also instinctively used by women in labour as a technique to sooth the pain; both rhythmic breathing and movement.
From history we best know the importance of religious dance from Ancient Greece, where the Bacchantes and the Maenads used dance to achieve “religious ecstasy”; to become one with the deity – Bakkhos (alias Dionisos), known from Scandinavia as Freyr, from Albion as Aengus, from Scythia as Shiebog or Veles and from Italy as Bacchus, Dionysus or Liber. Although best known from Ancient Greece it was no less common in the rest of Europe, as told us indirectly by all the witch persecutions during the late Middle Ages, where women were accused of “dancing with the devil” and to dance on (Pagan) sacred mountains. Not surprisingly the European deity was described as “Satan” and these European women were tortured, imprisoned and executed by the Crypo-Jews completely dominating the Church at that time (as suggested here too), and by their Christian lackeys.
Today we still do similar things for the same purpose (because we need it), and probably no less frequently, although we might not actively think about it this way; e. g. we jog or run rhythmically, often with music in our ears; we lift weights rhythmically, often to the rhythm of music. And of course some of us dance too, naturally to the sound of music. Any rhythmic movement will do, naturally, but the dance is the one means our forebears all knew and used for this purpose; most commonly a combination of music, light (or the lack thereof) and rhythmic dance, often involving rhythmic breathing as well. The only aspect that lacks today, the only element missing, is the religious-spiritual one. The deity is missing; he just watches us from a distance, so to speak, waiting and hoping to be let in again – as he should.
Why we should return to the sacred dance? Because the modern European struggles; he is not allowed any direction, any point of origin, any path of dignity, because he lives in not only an anti-natural world but first and foremost an anti-European world. Our deities (and what they stand for) are actively suppressed by this modern Judeo-Christian-dominated world; they are raped, murdered and spat upon every single day in the media, in the school system, in commercials, in entertainment, in art and everywhere else to. Only the ettins are allowed to prosper, only the ettin power is cultivated, everywhere; including in the drug-embracing rave sub-culture, in the hyper-sexualized dance of mongrel pop “stars”, in the brain dead head-banging of the nihilistic death- and black- metal sub-culture and so forth. They have taken the religious-spiritual dance (as well) and use it to spread their Judeo-Christian poison into the minds of our young.
The dance should be something we actively use to become better. We should jog or run not only to improve our stamina and general constitution; we should lift weights (or rather work hard) not only to grow stronger; we should dance in ceremonies not only because it might be fun or socially enriching. We should always also have the divine in mind, the improvement of the spirit as well.
The sexual dance, when a young man and a young woman danced together, was also a religious-spiritual dance; the purpose was for young men and women to find out whether or not they were a good match. Was there any physical compatibility and good chemistry between them? The process of dancing together would help them know, and this way they didn’t have to sleep around like modern confused young men and women do, to find out whether or not they are compatible or not. The religious sexual dance enabled them to find out without having to soil themselves.
Ängsälvor, by Nild Blommér (1850).
Dancing is a religious-spiritual thing. The Christians are kept sitting down in their “crypto-synagoges” (churches) and they sing only Judeo-Christian songs to numb their Pagan spirits further and to deprive them of the contact with themselves and their own nature. The Judeo-Christians labelled all dancing as “Satanic”, not least because of the Renaissance, when they saw that Europe was about to wake up from the Judeo-Christian psychosis. Later, when they failed to suppress the awakening of the European spirit they also tried – like they had done with all the Pagan festivals before, when they failed to suppress them – to steal the sacred dance, pervert it and ruin it, something they have only partially succeeded with.
The spells of the deities are complete with the light, the music and the dance of our forebears. Cast the spells of our gods and goddesses and revive your European spirit! Become a true European, in blood and in spirit! HailaR WôðanaR!
“Þat kann ek it fjögurtánda:
ef ek skal fyrða liði
telja tíva fyrir,
ása ok alfa
ek kann allra skil;
fár kann ósnotr svá.”
“(A fourteenth [i. e. song] I know:
if I shall explain
the heavenly light [the gods]
to the people of men,
I know all the nature
of the spirits [æsir] and of the elves
which no fool can know.)
Women of Amfiss.