The Mother of a Circle
|In some neolithic cultures the dance was one of the primary ways in
which the people ╬kept the sacred time╠. It was a central part of
a wider and integrated phenomena which included diet, arcetecture, the
way one placed a flower pot by the door, the curve of the garden path,
the hem line and inner intent. I shall have to go into this in great
depth at some future time. For now we shall simply say it was one
part a a very integrated and culturally wide practice which was, like the
native amewricans way, not a religion but rather a way of life.
The intent was that the dance which ╬kept the sacred time╠ (more of this is scattered through this library) would not stop. Indeed we do know that in a number of temples the dance continued for three or four centuries. In some it may have contiued for millenia. This is, of course, open to conjecture.
Let us surmise that we are in a larger and longer enduring temple. Let us surmise that the local populous and members of the temple are sufficcient enough in number to have what appears to be seven concentric circles in continual dance.
The dances are not ╬taught╠ in this condition. Each circle going inward has more subtlty, perhaps more complexity. Each of the seven cirecles has a ¤Mother of the CircleË. (see) That is, each circle has a person (in those cultures usually a woman, though at imes a ╬shamanic╠ and frequently transvetic man - a Tiresias) who is carrying the essence of the dance.