Session 5 Aug 2009


Padawan Learner
Just ordered the EE program. Can't wait to get started. Been trying to integrate some of the techniques as they have been mentioned through the forum while I am waiting for them to arrive. Found it funny that I normally have Mondays and Thursdays off. Always had it in mind that these days were reserved for something, hehe. Also the link to the thread on the EE program should provide useful as i begin the practice. Keep up the good work.



FOTCM Member
Ancient "circle people" - another hit for the C's? :)


Jedi Master
Q: (L) Okay. So what should we do next? I mean, we haven't yet been able to take the time and effort and whatever to put dances together and I dunno if, ya know...

A: Wait for the dances. There are going to be some breakthroughs among the practitioners within the next two months. Then will be time enough to think about dancing.

Q: (L) What about this other dance that we found, these four guys doing this very slow, very unusual crane-looking dance?

A: That is as close as it comes!!!

Q: (L) Well, what is this dance used for?

A: Wait... you will know soon.

I've read this book : _

Foreword to the Brazilian Edition by Renata C. L. Ramos
Sacred Circle Dance came into my life in 1992 as a clear and precise ray of light, unveiling a wonderful possibility of a life filled with intense learning and continuous work developing consciousness within myself and others. Thus my soul found the path it had been searching for here on earth to express its divinity.
My deepest appreciation goes to Anna Barton, author of this book much anticipated by Sacred Dance circles throughout the planet, and to the Findhorn Foundation, that welcomed Bernhard Wosien and his work with Circle Dance more than 30 years ago.
Anna Barton was the person who dedicated herself to registering and perpetuating the work brought to the Foundation by Bernhard Wosien, making it her life purpose to offer workshops of Sacred Dance with a Findhorn approach. For those who have not yet visited the Foundation, located in the north of Scotland, I must explain that the respect they demonstrate there to the center of a Dance Circle is the same respect one has to the center of oneself in connection with the center of the universe. In the Findhorn Foundation we celebrate daily the silence within us, that special place where we find our source of energy.
Anna Barton first came to Brazil in 1995 to focalize workshops and training sessions, by invitation of TRIOM Centro de Estudos, Livraria e Editora, São Paulo, in partnership with organizers in Belo Horizonte and Salvador. She was the first international personality to officially represent Sacred Circle Dance in Brazil.
With her poise and knowledge, Anna Barton captivated the Brazilians who had the privilege of dancing with her. Sacred Circle Dance experienced with this dear person has a special flavor emphasized by her joy and the quality of her movements, which provides a perception of the different cultures and honors the expression of many different people.
Anna Barton, is considered a great master of Sacred Circle Dance. She was in direct contact with Bernhard Wosien, who started this movement that re-visited the Circle Dances of Peoples and wherever she goes, Anna leaves deep imprints on peoples’ souls.
In Brazil, the Sacred Circle Dance movement is expanding throughout the whole country, and this book is the first of a series of publications meant to offer more resources to those who might wish to embrace this work which, more than being a work tool, is a mission of life and soul.
Dancing the Sacred Way tells Anna Barton’s personal story, how she met Bernhard Wosien and how she gave herself entirely to the work with groups in circles. It describes Anna’s connection with the Findhorn Foundation and shares important insights with those who are following the same path.
It is with great joy that TRIOM is publishing this bilingual Portuguese/English edition of Anna Barton’s book and launching it during the celebration of the 30th anniversary of Sacred Circle Dance in the Findhorn Foundation, in the July Annual Festival.
Once again I thank our Sacred Dance master Anna Barton.

The book includes a bibliography :

Dance from Magic to Art - Lois Ellfeldt
A social history of scottish dance - George S. Emmerson
The nature of dance : an anthropological perspective - Roderyk Lange
The circle of Sacred Dance - David Lorimer
Sacred dance - Maria-Gabriele Wosien
Any books by Bernhard Wosien, the father of Sacred dance !

And also some infos :

I never cease to marvel at how lives can be transformed simply by people dancing together and being aware of the possibilities of transformation when dancing and supporting each other in a non-judgmental atmosphere. [...]

Over the years I have realized that it is not just teaching the dances that is important. I realized that holding the energy of the group and being able to move in the moment with the dancers is equally as important as teaching the dances clearly.

Gradually the Dance took a less spiritual meaning. Eventually it was used not to express man's spirituality but in a vain effort to find it. Over the Ages it has been found and lost again and again. Now we have discovered it once more, I believe that we do not need to lose it this time.

When all the dancers are working together to be as clear as possible with movement, emotions and thoughts, I feel that the energy channelled will be that much purer and more able to serve the individuals, the group and the planet.
I used to think that the energy we produce by dancing together is channelled through the Spirit, but I have since come to believe that there are three ways - channelling, activating and generating.
Channeling is a hot line to God through the spirit or Soul and by opening ourselves to the highest good for all concerned the energy can be channelled cleanly, or as cleanly as we are able to manifest, through the dances we are doing.
I see activating as the earth connection. As birds dance on the earth after rain to encourage the worms to surface, so I believe that the patterns we make in the circle with our feet on the ground awakens the energies that recognize that pattern which, in an ancient dance, has been repeated thousands of times over the years. This is another reason for performing the steps correctly.
The third one is generating, which is done by the group dancing together. The synthesis of that particular group's individuals coming together as one generates a unique energy. Even if those same people dance together as the people are not exactly the same people they were the day before because of the events in between. So in dancing together we receive energy from above and below, the vertical line; and from ourselves as a group, the horizontal.
I like to work with these two lines in the beginning attunement. I suggest that everyone acknowledges the link between heaven and earth (spirit and earth) through the body from head to toe, imagining a golden thread stretching from far above the head, down through the body and deep into the earth, drawing in the spirit and earth energies to merge and integrate within us. This I see as the line of individuality, acknowledging our own unique qualities which make us different from everyone else, each able to give something to help the group which no one else can. Then we imagine a golden thread linking us around the circle, hand to hand, heart to heart, whichever each person prefers. This horizontal line links us as a groupe, drawing the many individuals into the whole. Now if we visualize the two lines together they form a cross and we concentrate on the small point where they mee each other. This is the centre, the balance between individuality and oneness, the still point of Peace. From this point we can work together and still be ourselves to bring the Healing and any other qualities into the circle to use for the benefit of ourselves and the rest of the Planet at the end of the session.

As one of the higher purposes of Sacred Dance is to build a healing energy through the dances to release to the planet or to particular people or places at the end of the session, it is important that the group is aware of this fact and does not lose it after every dance by immediately chatting and unconsciously throwing the energy away. It is as extremely fine line between indiscriminate chatting or talking about the dance you have just done. I can sound the same but one disperses the energy and the other does not. A safer way of holding the energy in place is standing quietly for a brief silence after each dance. [...]

The minimum number I like to work with is about ten as I find it more difficult to maintain an energy level that is not draining with that many people. Of course, it is fine for an evening session, but much more intensive for a whole weekend. This, again, varies from teacher to teacher and I know some people who prefer a smaller group. The maximum number for me is however many people can dance comfortably in the chosen place. In other words, I don't really have a top limit and I am just as happy with sixty people as I am with twenty.

[Activities that work well with Sacred Dance] I first came into contact with Paneurhythmy (not to be confused with Rudolf Steiner's Eurythmy) several years ago [...] At that time it did not appeal to me at all. [...] However, several years later, when two Paneurhythmy teachers came to the Foundation, I decided to try it again and to my surprise something extraordinary happened. After the session I was full of energy, happy, enthusiastic and ready to leap into the rest of my day. I had not felt so centered for quite a while. This happened every time we did it after that, so I decided to learn it and pass it on to friends. Eventually I incorporated the first ten movements into some of my workshops.

And also :


Teacher of Sacred Dance, Choreographer, Writer

Gabriele holds a B. A. (Hon.) degree in Russian Language and Literature and a Ph. D. on Russian folktales (University of London).

Maria-Gabriele Wosien, Foto: Giorgio Tagliafico©Based on her studies of Eastern and Western sacred traditions, Gabriele has, in numerous choreographies, developed her own approach and thematic cycles with a special focus on the religious and ritual origins of European folk dances. The emphasis of her work is on the conscious experience of mythological images and symbols so as to experience their healing potential.

Gabriele bases her choreographies on traditional movement archetypes, for which she uses sacred, classical and folk music.

She has gained an international reputation through teacher training courses, talks and seminars, as well as through her publications in several languages.

In collaboration with her father, the ballet dancer and choreographer Bernhard Wosien (1908 -1986), she developed what came to be called Sacred Dance.

In 1976 Bernhard Wosien had introduced to Findhorn, the spiritual community in Scotland, his ‘Dance Meditation’ as well as traditional European folk dances. Like the people who live there he felt committed to the ideals of ‘One Earth’ and ‘One Humanity’. In the following years, in English speaking countries, their work came to be known as Sacred Dance, taken from the title of Gabriele's book by the same name: ‘Sacred Dance.Encounter with the Gods’ , published in 1974 in London and New York.


Padawan Learner
Cassiopaeans said:
Session Date: August 5th 2009

Q: (L) I would like to know if you have any comments to make on the progress of our breathing and meditation program for the readers of our forum and perhaps other people who are practicing it about whom we know nothing?

A: It is already having effects in other realms.

Q: (L) What other realms?

A: 4, 5, 6D.

Q: (L) In what respect?

A: Humans should remember the hermetic maxim can go both ways in some respects. Those who are destined to "meet" themselves in the future can now do so with greater facility due to these efforts. We once said that "you in the future" could "rewrite" cosmic programs... that goes for others too. They are now learning the programming language.

Q: (L) A number of people on the forum have talked about the zoning out thing, the, ya know... while still awake seemingly, losing all awareness of self and just kind of zoning out. What is this phenomenon?

A: See previous answer and think of it as spending "time" with the higher self/teacher instead of wasting the ability to dissociate on futile illusions. Also remember that "time" spent in this process utilizes this "soul ability" as it was originally intended. It taxes the soul greatly to be embodied.

This session is great to read in connection with the 10/11/2014 session, that addresses the matter of assembling a critical mass of collinear people who aspire to make a change for the better on our planet.

Thanks for putting it up!
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