Folklore Dance Quotes

If we could love and hate with as good heart as the faeries do, we might grow to be long-lived like them. But until that day their untiring joys and sorrows must ever be one-half of their fascination. Love with them never grows weary, nor can the circles of the stars tire out their dancing feet.

Man was first a hunter, and an artist: his early vestiges tell us that alone. But he must always have dreamed, and recognized and guessed and supposed, all the skills of the imagination. Language itself is a continuously imaginative act. Rational discourse outside our familiar territory of Greek logic sounds to our ears like the wildest imagination. The Dogon, a people of West Africa, will tell you that a white fox named Ogo frequently weaves himself a hat of string bean hulls, puts it on his impudent head, and dances in the okra to insult and infuriate God Almighty, and that there's nothing we can do about it except abide him in faith and patience. This is not folklore, or quaint custom, but as serious a matter to the Dogon as a filling station to us Americans. The imagination; that is, the way we shape and use the world, indeed the way we see the world, has geographical boundaries like islands, continents, and countries. These boundaries can be crossed. That Dogon fox and his impudent dance came to live with us, but in a different body, and to serve a different mode of the imagination. We call him Brer Rabbit.

We have mirrorballs in the middle of a dance floor because they reflect light; they are broken a million times and that's what makes them so shiny. We have people like that in society too, they hang there and everytime they break it entertains us. And when you shine a light on them, it's this glittering, fantastic thing, but then a lot of the time when the spotlight isn't on them, they're just still there up on a pedestal but nobody's watching them.

An old man plays the bagpipes In a gold and silver wood; Queens, their eyes blue like the ice, Are dancing in a crowd.

Because enchantment, by my definition, has nothing to do with fantasy, or escapism, or magical thinking: it is founded on a vivid sense of belongingness to a rich and many-layered world; a profound and whole-hearted participation in the adventure of life. The enchanted life presented here is one which is intuitive, embraces wonder and fully engages the creative imagination – but it is also deeply embodied, ecological, grounded in place and community. It flourishes on work that has heart and meaning; it respects the instinctive knowledge and playfulness of children. It understands the myths we live by; thrives on poetry, song and dance. It loves the folkloric, the handcrafted, the practice of traditional skills. It respects wild things, recognises the wisdom of the crow, seeks out the medicine of plants. It rummages and roots on the wild edges, but comes home to an enchanted home and garden. It is engaged with the small, the local, the ethical; enchanted living is slow living.

Researching Alaska, I loved the blurred line between history and Inuit folklore. This is an old land where the sun permanently sets for months on end, where dogs pull sleds across hundreds of miles of snow and ice, and where colorful sheets of light dance in the sky--the facts already feel magical.

I now realize this was out of fear: I feared that, like so many stones I have met, it would fail to dance. There was a small part of me that wanted the world to be a place where, despite planning officers and EU directives and policemen, a stone might dance. And

Folkloric dances in the metro, innumerable campaigns for security, the slogan “tomorrow I work” accompanied by a smile formerly reserved for leisure time, and the advertising sequence for the election to the Prud-hommes (an industrial tribunal): “I don’t let anyone choose for me”—an Ubuesque slogan, one that rang so spectacularly falsely, with a mocking liberty, that of proving the social while denying it. It is not by chance that advertising, after having, for a long time, carried an implicit ultimatum of an economic kind, fundamentally saying and repeating incessantly, “I buy, I consume, I take pleasure,” today repeats in other forms, “I vote, I participate, I am present, I am concerned”—mirror of a paradoxical mockery, mirror of the indifference of all public signification.

Faith and mythology, in their profoundest sense, are the twin pillars that uphold the vast cathedral of human consciousness. They are the intertwined roots that nourish our understanding of existence, grounding us in the fertile soil of the unknown. Faith, is the audacious whisper in the heart of man, defying the chasm of uncertainty with its unwavering resonance. It is the audacity to trust in the unseen, to hear the unspoken, and to pursue the uncharted. It is the flame that illuminates the caverns of our deepest fears, casting shadows on our doubts, and lighting the path to our truest selves. Meanwhile, mythology is the grand tapestry we weave to contain the boundless cosmos within the finite landscapes of our minds. It is the narrative thread that stitches together the fabric of our collective consciousness, painting vibrant portraits of gods and monsters, of heroes and villains, of creation and destruction. Mythology gives form to faith, translating the abstract into the tangible, the divine into the comprehensible, the eternal into the temporal. It is the language of symbols, narrating the timeless tales of the human spirit dancing with the cosmos' infinite possibilities. Yet, both faith and mythology are but reflections in the mirror of existence, shimmering illusions that hint at a reality far beyond our comprehension. They are the echoes of the universe whispering its secrets to those daring enough to listen, the gentle lullabies that soothe our existential anxieties, the sweet honey that makes the bitter pill of the unknown more palatable. They are not the ultimate answers to life's mysteries, but the beautiful questions that keep us seeking, exploring, and wondering. They are the compass and the map, guiding us on our endless quest for truth, reminding us that the journey, not the destination, is the essence of existence.

I used to live a short distance away from a standing stone which, at full moon and/or Midsummer’s Eve, would dance around its field at night, incidentally leaving unguarded a pot of gold which, in theory, was available to anyone who dared to seize it and could run faster than a stone. I went to see it by daylight early on, but for some reason I never found the time to make the short nocturnal journey and check on its dancing abilities. I now realize this was out of fear: I feared that, like so many stones I have met, it would fail to dance. There was a small part of me that wanted the world to be a place where, despite planning officers and EU directives and policemen, a stone might dance. And somewhere there, I think, is the instinct for folklore. There should be a place where a stone dances.

Let the mystical dance of the daivas intertwine with the vibrant hues of our mortal existence, illuminating our paths with revelations about Tulu Nadu’s spirit deities or as they say in Tulu—Satyolu.

Britain had become a kind of cargo cult, a jumble of disassociated local customs, rituals and superstitions: uncanny relics of the distant, unknowable Britain of ancient days. Why, for instance, do sword dancers lock weapons in magical shapes such as the pentagram or the six-pointed star, led by a man wearing a fox’s head? What is the straw bear plodding round the village of Whittlesey in Cambridgeshire every January? Why do a bunch of Nutters black up their faces and perform a coconut dance in several Lancashire villages? What possesses people to engage in the crazed ‘furry dance’, singing the ‘Hal-An-Tow’ song, on 6 May at Helston in Cornwall? Why do beribboned hobby horses canter round the streets of Padstow and Minehead every May Day, with attendant ‘Gullivers’ lunging at onlookers with a giant pair of pincers? The persistence of such rites, and the apparent presence of codes, occult symbolism and nature magic in the dances, mummers’ plays and balladry of yore, have provided a rich compost for some of the outgrowths of folk in the 1960s and afterwards. Even to dip a toe into the world of folklore is to unearth an Other Britain, one composed of mysterious fragments and survivals – a rickety bridge to the sweet grass of Albion. As Bert Lloyd mentioned, ‘To our toiling ancestors [these customs] meant everything, and in a queer irrational way they can still mean much to us.’1

according to Donald Brown, a professor at the University of California, there is actually a common denominator to all human civilisations – a certain set of ‘attributes’ – which makes us fundamentally human. Brown has termed these the ‘human universals’.4 Let’s use this as a starting point. According to Brown, the human universals ‘comprise those features of culture, society, language, behaviour and psyche for which there are no exception. For those elements, patterns, traits, and institutions that are common to all human cultures worldwide.’ There are 67 universals in the list that are unique to humans: age grading, athletic sports, bodily adornment, calendar, cleanliness training, community organisation, cooking, cooperative labour, cosmology (study of the universe), courtship, dancing, decorative art, divination (predicting the future), division of labour, dream interpretation, education, eschatology (what happens at the end of the world), ethics, ethno-botany (the relationship between humans and plants), etiquette, faith healing, family feasting, fire making, folklore, food taboos, funeral rites, games, gestures, gift giving, government, greetings, hailing taxis,* hairstyles, hospitality, housing, hygiene, incest taboos, inheritance rules, joking, kin groups, kinship nomenclature (the system of categorising relatives), language, law, luck superstitions, magic, marriage, mealtimes, medicine, obstetrics, pregnancy usages (childbirth rituals), penal sanctions (punishment of crimes), personal names, population policy, postnatal care, property rights, propitiation of supernatural beings, puberty customs, religious ritual, residence rules, sexual restrictions, soul concepts, status differentiation, surgery, tool making, trade, visiting, weather control, weaving. My point here is that if your idea resonates with a human universal, you will maximise the universal appeal of your app. Solving a ‘universal’ problem creates a much bigger market opportunity than solving a geographically specific, language-related or generally niche issue not shared by a huge number of people. On the flipside, not every human universal maps to a billion-dollar idea. But the list of universals does provide a great checklist, so it’s worth checking to see if you can match apps that correspond to each one. When I was doing this exercise, I came across a fascinating example. I discovered a free app that, despite having more than 129 million downloads5 and massive daily usage numbers, has garnered very little media attention. It is called YouVersion.6 It’s a free Bible app that offers 600 translations of the Bible in 400 languages. It’s a billion-dollar opportunity that maps directly to the ‘religious ritual’ universal. It doesn’t earn much revenue today, but that just may be a matter of time.

Within James’s statement can be found one of the key crossovers between Witches and faeries: their assemblies. Both gatherings included acts of merriment such as feasting and dancing presided over by a supernatural leader—Witches being led by the Devil and faeries by their queen.

In August of 1954, Gerald Gardner sent one of his high priestesses, Doreen Valiente, to inquire about Spare’s magical services as a talismanic artist. A letter Spare wrote after his visit with Valiente sheds light on the disparities between his vision of the Sabbath and Gardner’s. In the letter, and typical of Spare’s latent misogyny, he described Valiente, who had used the false name of Diana Walden, as a “myopic stalky nymph.” He went on to dismissively point out that “she believed the ‘Witches’ Sabbath was a sort of Folk dance of pretty young things.” 65 Spare was formally introduced to Gerald Gardner a month later, and it was noted that the two did not get along.

In her appearance, the Sabbath Queen was normally characterized by her distinctive beauty and regal attire. Jeanette d’Abadie noted in her 1609 confession that the Devil always selected the prettiest women to be the Sabbath Queen.176 In Spain the queen was said to wear an elaborate gold chain around her neck, with each link along its length depicting the Devil’s face.177 Meanwhile, in Poland she was described as wearing a gold crown and being surrounded by children.178 In another Polish account, the queen’s crown was replaced by a pair of golden horns.179 Marion Grant of Aberdeen, Scotland, confessed in 1597 that she had attended dances at which the Devil was present with a woman dressed in a white waistcoat who was known as “Our Lady.” 180 Margaret Talzeor of Alloa, Scotland, mentioned in 1658 that there had been a mysterious woman at the Sabbath who was dressed in a green waistcoat with gray tails.

When the Devil played, it was not always so melodious. For example, Scottish woman Isobel Cockie was accused of being at a Sabbath dance at which she grew displeased by the Devil’s awful music. Believing that she could play better than him, she boldly snatched away his instrument and began to play herself—surprisingly without any reprimand for her brash behavior.

Agnes Sampson confessed that at her meeting in the North Berwick churchyard, the Witches danced to a reel that went, “Commer goe ye before, commer goe ye. Gif ye will not goe before, commer let me.

The question of whether the minor deities of Roman Britain managed to survive the coming of Christianity in some form, to emerge again in the Middle Ages, is almost impossible to answer. Yet it is important, as I shall argue in Chapter 3 below, that early medieval folkloric traditions developed against a cultural background and amid the wreckage of a material culture inherited from the Romans and Romano-Britons. Thus, for example, the importance of the underworld and trooping and dancing godlings in medieval folklore recalls the thiasos – the dancing procession of godlings portrayed so often in Roman art from Britain in connection with Orpheus and Bacchus.

Where shadows dance and secrets linger, beware the devil with the silver tongue, for in their shadows lies the truth of their true nature. Do not forget who and what they are.