Just as the earth is moved by the universe, you, me, every human, every life form, and every thing is moved by the universe as well. This movement feeling, the sense of the universe s gravity field or what Einstein called space time, is not just felt by astronauts. All of us feel moved by gravity all the time. When you let gravity move you, when you are moved by space time, you are moved by the universe. When you are moved in this way, you are showing the dance of the ancient one, and are in contact with the space between us, with the subtle experience of being moved by what I shall explain is a system mind possibly the most powerful system mind available to us. Arnold Mindell, The Dance of the Ancient One, Spring 2013 In his latest book, Mindell expands on his earlier concept of the processmind as he develops the notion of space time dreaming or dance of the ancient one in his rigorous efforts toward the elucidation of a ToE (or theory of everything). Space time dreaming weaves together essential spiritual concepts from the Eastern mystical tradition of the Tao and Wu Wei of Chinese philosophy, along with modern Western field and space theories in quantum physics such as gravity, space time, unified field theories, indeterminacy and entanglement. He draws upon personal field ideas (i.e., the unconscious), interpersonal social field and role theory from psychology and sociology, then adds concepts of intersubjectivity and entanglement from transpersonal and integral psychology. On a group level, he incorporates interdependence from organizational system mind models and places it all in the context of ecology, of Gaia, and then the larger universe. One World concepts, such as the Unus Mundus from mystical and alchemical traditions that work at a more essential or non-dual level to unite seeming opposites, facilitate the coming together of all of these varied perspectives in his framing of the space time dreaming concept, experientially accessible as The Dance of the Ancient One. Each chapter contains either an exercise to do in pairs or a small group, or an inner work exercise, so that you can facilitate yourself and experience the space time dreaming states directly. Transcripts of discussions with his students are distributed throughout the book, and engagingly contribute to a diverse and resonant learning experience.

One of the few books in English on the topic investigates origins, nature, role of dance in ancient Egypt. 80 drawings and illustrations adapted from tomb paintings, other sources. New introduction. Bibliography.

Winner, Association for Latin American Art Book Award, 2010 The Maya of Mexico and Central America have performed ritual dances for more than two millennia. Dance is still an essential component of religious experience today, serving as a medium for communication with the supernatural. During the Late Classic period (AD 600-900), dance assumed additional importance in Maya royal courts through an association with feasting and gift exchange. These performances allowed rulers to forge political alliances and demonstrate their control of trade in luxury goods. The aesthetic values embodied in these performances were closely tied to Maya social structure, expressing notions of gender, rank, and status. Dance was thus not simply entertainment, but was fundamental to ancient Maya notions of social, religious, and political identity. Using an innovative interdisciplinary approach, Matthew Looper examines several types of data relevant to ancient Maya dance, including hieroglyphic texts, pictorial images in diverse media, and architecture. A series of case studies illustrates the application of various analytical methodologies and offers interpretations of the form, meaning, and social significance of dance performance. Although the nuances of movement in Maya dances are impossible to recover, Looper demonstrates that a wealth of other data survives which allows a detailed consideration of many aspects of performance. To Be Like Gods thus provides the first comprehensive interpretation of the role of dance in ancient Maya society and also serves as a model for comparative research in the archaeology of performance.

When Princess Gul'Agdar of Dhagabad begins studying the ancient magic of the Sacred Dance, she has no idea that this seemingly innocent act is the first step on the treacherous path to immortality, absolute powerNand slavery. Even her beloved Hasan cannot save her this time, as his enemies lure him into the mysterious True Library, destined to trap all-powerful wizards in a magical desert beyond this world.

Dance has a long a varied history. This book focuses on the beautiful and unique dances of Scotland and Ireland. Many of the earliest books, particularly those dating back to the 1900's and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

(Limelight). Coming of age in Paris in the 1920s, film and stage actress Lois Moran was a rumored paramour of writer F. Scott Fitzgerald and the inspiration for the character of Rosemary in his Tender Is the Night . As a young girl, Lois moved to Paris with her mother and thrived in the artistic and literary glow of the city. She danced with the National Paris Opera at age 14 and also was cast in two French films. Samuel Goldwyn, on a European tour in search of new talent, saw her work and was impressed. He cast her in what would become one of the best-known films of the era. With her performance as Laurel, the emotionally conflicted daughter in Stella Dallas , Lois Moran became an overnight sensation and took Hollywood by storm, and on her own terms. The author corresponded with Lois Moran during the last five years of her life. He had full and exclusive access to her journals, scrapbooks, and photos. In telling the Lois Moran story, Buller illuminates the history of film, theater, and television. He also includes a thorough and unique account of the actress's relationship with Fitzgerald. HARDCOVER