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Dancing Dictionary | A Wisdom Archive on Dancing Dictionary | | Dancing Dictionary A selection of articles related to Dancing Dictionary | |
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| ARTICLES RELATED TO Dancing Dictionary | |
| | |  Dancing Dictionary: Dream Interpretations
Dictionary - Dancing
Dream Interpretation Dancing Dancing in the dream reflects your inner desire for freedom, emotional satisfaction and spontaneity. If you are dancing by yourself, it is a sign that you want some attention from a certain person. Being led to a dance floor by somebody means that, if even you might not like the situation, you have to accept it. If you dream of dancing with a partner, you need to remember who is leading, it will tell you more about your current relationship. Also, dancing in general in dreams could express your happiness and luck in love, though not so long lasting. Source: Dream-Land, http://www.dream-land.info (See also: Dream Archives, Meaning of Dreams, Dream Interpretation, Dream Dictionary, Dream Dictionary - Dancing, Meaning of Dreams about Dancing, Dream Interpretation Dancing)
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| | |  Dancing Dictionary:
Dream Dictionary - Dance, Happy Children, Marriage, Old People, Dancing Dance, Happy Children, Marriage, Old People, Dancing - To dream of seeing a crowd of merry children dancing, signifies to the married, loving, obedient and intelligent children and a cheerful and comfortable home. To young people, it denotes easy tasks and many pleasures.
- To see older people dancing, denotes a brighter outlook for business.
- To dream of dancing yourself, some unexpected good fortune will come to you.
- [51] See Meaning of Dreams about Ball.
Source: 10 000 Dream Interpretations, by Gustavus Hindman Miller (See also: Dream Archives, Meaning of Dreams, Dream Interpretation, Dream Dictionary, Dream Dictionary - Dance, Dreams - Meaning of Dream about Dance, Dream Interpretation Dance)
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| | |  Dancing Dictionary: Dream Interpretation Dictionary
- Dancing Dancing This may be a happy dream which suggests that on some level you feel joy, happiness, and a sense of victory. If you are not in a good mood, and don't feel very joyful, this dream may be compensatory in nature. It may be trying to balance negativity and stress that you feel in daily life. Superstition-based dream interpretation says that dreaming of dancing predicts happy times ahead. Depending on the content of this dream, it may have some sexual connotations. Source: Dream Lover Incorporated, http://www.dreamloverinc.com (See also: Dream Archives, Meaning of Dreams, Dream Interpretation, Dream Dictionary, Dream Dictionary - Dancing, Meaning of Dreams about Dancing, Dream Interpretation Dancing)
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| | |  Dancing Dictionary:
Dream Dictionary - Dancing Master Dancing Master, - To dream of a dancing master, foretells you will neglect important affairs to pursue frivolities. For a young woman to dream that her lover is a dancing master, portends that she will have a friend in accordance with her views of pleasure and life.
Source: 10 000 Dream Interpretations, by Gustavus Hindman Miller (See also: Dream Archives, Meaning of Dreams, Dream Interpretation, Dream Dictionary, Dream Dictionary - Dancing Master, Dreams - Meaning of Dream about Dancing Master, Dream Interpretation Dancing Master)
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| | |  Dancing Dictionary:
Alternative
Health Dictionary on Synergy Dance Synergy Dance: blend of Qigong, World dance, yoga, and the subtle energy awareness and elements (earth, air, fire, water, and ether) of Polarity Therapy. Polarity therapist Charmaine Lee, born in South Africa, created the method and in 1987 founded the Synergy Dance & Healing Arts Center, in Washington, D.C. (See also: Synergy Dance, Body Mind and Soul, Alternative Health, Alternative Health Dictionary)
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| | |  Dancing Dictionary: Dream Interpretation Dictionary - Dream: I am flying, swimming or dancing joyfully Dancing : Dream Interpretation Dictionary - Dream: I am flying, swimming or dancing joyfully Dream: I am flying, swimming or dancing joyfully Description: You are flying, feeling free. Your flight may evolve as an escape from some bad situation. In an alternate version, you may be moving freely through water or dancing with abandon. Frequency: Although the frequency of this dream varies widely, those who have experienced it often remember it as a favorite dream. Usual meanings: You feel great, able to soar as high as you wish, you feel as though your possibilities are limitless and that you can transcend anything. Flying dreams can also be tied to spiritual aspirations. Swimming may suggest the feeling that you can explore your depths confidently, and dancing may reflect joy in your body, an increasing sensuality. Questions to ask yourself: - What restrictions do you feel you've overcome?
- What successes have been yours recently in waking life?
- Have you recently felt a spiritual connection?
Source: http://health.discovery.com (See also: Dream Interpretation, Dream Dictionary, Meaning of Dreams, Dream Interpretation Dancing, Dream Dictionary Dancing)
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| | |  Dancing Dictionary: Holistic
Health Dictionary on
DANCE THERAPY DANCE THERAPY Dance/Movement therapy is the psychotherapeutic use of movement as a process to assist in the emotional, cognitive, social and physical integration of the individual. Dance/Movement therapists help a wide range of people, from ill children to seniors in their declining years, from the mentally ill to normal people who have lost touch with their inner truth. When words alone are not enough, dance/movement therapists are there to help. Dance therapists are employed in psychiatric hospitals, clinics, day care, community mental health centers, developmental centers, correctional facilities, special schools and rehabilitation facilities. From young children to the elderly, regardless of their illness, all benefit from the joys that come from simple gentle movement and dance. (See also: DANCE THERAPY, Alternative Health, Holistic Health, Body Mind and Soul)
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| | |  Dancing Dictionary:
New Age
Spirituality Dictionary on Ghost Dance Ghost Dance A new religious movement among Native Americans of the western United States. The Ghost Dance had two distinct phases, both of which originated in the visions of a Paiute shaman living in western Nevada. The Ghost Dance of 1870: Wodziwob (d. ca. 1872), the prophet of the 1870 dance, proclaimed that the world would soon be destroyed, then renewed; the dead would be brought back to life and game animals restored. He instructed his followers to dance a nocturnal circle dance. This dance was similar to both older Paiute traditions and an earlier regional movement, the Plateau Prophet Dance, but it addressed very present conditions of deprivation resulting from white incursions into tribal territories. It spread to California, Oregon, and Idaho but, with the death of Wodziwob and the nonfulfillment of his prophecies, died out within a few years. The Shoshone and Bannock of Fort Hall, Idaho, however, continued to perform the Ghost Dance at least intermittently up to 1890. The Ghost Dance of 1890: Wovoka (ca. 1856-1932), a Paiute Native American prophet, inaugurated the Ghost Dance of 1890 on the basis of a vision he had received during a total eclipse of the sun. His message was in direct continuity with the 1870 dance: there was to be an immanent renewal of the world in which dead Native Americans would be resurrected and the living would no longer be subject to sickness and old age, game animals would be restored to their former abundance, and the old way of life would once more flourish. Euro-Americans, by this time firmly in control, would be eliminated by supernatural means, such as a flood or earthquake. It is uncertain whether Wovoka announced a specific date for these events, but many expected them in the spring of 1891. Wovoka's message also contained ethical admonitions (e. g. , members of different tribes should live in peace with each other; they should cooperate with, not war against, the whites). In anticipation of the great event and to speed its arrival, Wovoka instructed his followers to perform circle dances periodically. They did so in large numbers, and (especially among Plains tribes) dancers often fell into trances, subsequently reporting that they had visited the spirit world and spoken with dead relatives, who were living a life like the one that had flourished before the coming of the whites. The 1890 dance spread mainly eastward along the length of the Rocky Mountains and Great Plains. In some tribes (e. g. , Paiute, Cheyenne, Shoshone, Pawnee) acceptance was almost unanimous; in others (like the Sioux) only segments of the population became believers. No Pueblo (except at Taos) or Navajo accepted it, the latter because of a culturally conditioned aversion to ghosts. As news of the Paiute prophet Wovoka began to spread, tribes sent delegations to the Walker Lake Reservation in western Nevada to see him. They returned with versions of his teachings that were sometimes shaped by the particular needs of their tribe. Among the Pawnee, the dance provided the basis for an important cultural renewal, for the visions of the dancers made possible the revival of old ceremonial activities that had fallen into disuse because knowledge of their correct performance had been lost. The Sioux, who had a number of current grievances against the government (e. g. , loss of reservation lands, cuts in rations), altered Wovoka's message in the direction of greater hostility toward the whites. Delegates like Short Bull and Kicking Bear advocated the use of "ghost shirts" (special garments that were supposed to make the wearer invulnerable to bullets) and spoke of the possibility of armed conflict with the government soldiers. During 1890, newspapers around the country carried often sensational stories about the "messiah craze" (Wovoka was often called the "Indian messiah") and the possibility of renewed warfare with the Sioux. Violence did erupt in December: during an attempt to arrest him, Chief Sitting Bull was shot to death, and Chief Big Foot and almost three hundred of his band were massacred by the cavalry at Wounded Knee. These events were more the result of government blunders than of a Sioux outbreak. Following the violence among the Sioux and the failure of the expected transformations the next spring, the popularity of the dance began to fade. However, it did not die out altogether. Wovoka remained active, but shifted his message in the direction of ethical admonitions. As late as 1896 some Kiowa were still dancing, and one of the early Northern Cheyenne delegates, Porcupine, led a brief revival of the dance in 1900. The movement continued elsewhere in a more substantive way. In the first decade of the twentieth century, Fred Robinson, an Assiniboin who had been instructed in the Ghost Dance by Kicking Bear and had corresponded with Wovoka, brought the dance to a small community of Sioux living in Saskatchewan. Combined with a traditional Medicine Feast, apocalyptic elements disappeared and the themes of ethical admonition and community solidarity predominated. Among the Wind River Shoshone (Wyoming), the Ghost Dance apparently combined with an earlier ceremony (the Father Dance) of thanksgiving to God for food. As a result, the annual renewal of nature took on a cosmic dimension: shamans reported dreams in which they saw the dead assembled in heaven waiting to return to earth at some unspecified time in the future. The people on earth anticipated this event and performed a dance thought to imitate that of the dead. In both these places the Ghost Dance continued to be performed into the 1950s. In the 1970s the dance was revived by the activist American Indian Movement. Even among persons and groups who no longer practice it, knowledge of the Ghost Dance has not died out and lessons are still derived from it. Thus ca. 1970 the Sioux medicine man Lame Deer reinterpreted an old Ghost Dance song about straightening arrows and killing and butchering buffalo to mean that individuals must live upright lives in order to help bring about a new earth. (See also: Ghost Dance, New Age Spirituality, Body Mind and Soul)
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| | |  Dancing Dictionary:
New Age Spirituality
Dictionary on
Ghost Dance Ghost Dance A new religious movement among Native Americans of the western United States. The Ghost Dance had two distinct phases, both of which originated in the visions of a Paiute shaman living in western Nevada. The Ghost Dance of 1870: Wodziwob (d. ca. 1872), the prophet of the 1870 dance, proclaimed that the world would soon be destroyed, then renewed; the dead would be brought back to life and game animals restored. He instructed his followers to dance a nocturnal circle dance. This dance was similar to both older Paiute traditions and an earlier regional movement, the Plateau Prophet Dance, but it addressed very present conditions of deprivation resulting from white incursions into tribal territories. It spread to California, Oregon, and Idaho but, with the death of Wodziwob and the nonfulfillment of his prophecies, died out within a few years. The Shoshone and Bannock of Fort Hall, Idaho, however, continued to perform the Ghost Dance at least intermittently up to 1890. The Ghost Dance of 1890: Wovoka (ca. 1856-1932), a Paiute Native American prophet, inaugurated the Ghost Dance of 1890 on the basis of a vision he had received during a total eclipse of the sun. His message was in direct continuity with the 1870 dance: there was to be an immanent renewal of the world in which dead Native Americans would be resurrected and the living would no longer be subject to sickness and old age, game animals would be restored to their former abundance, and the old way of life would once more flourish. Euro-Americans, by this time firmly in control, would be eliminated by supernatural means, such as a flood or earthquake. It is uncertain whether Wovoka announced a specific date for these events, but many expected them in the spring of 1891. Wovoka's message also contained ethical admonitions (e. g. , members of different tribes should live in peace with each other; they should cooperate with, not war against, the whites). In anticipation of the great event and to speed its arrival, Wovoka instructed his followers to perform circle dances periodically. They did so in large numbers, and (especially among Plains tribes) dancers often fell into trances, subsequently reporting that they had visited the spirit world and spoken with dead relatives, who were living a life like the one that had flourished before the coming of the whites. The 1890 dance spread mainly eastward along the length of the Rocky Mountains and Great Plains. In some tribes (e. g. , Paiute, Cheyenne, Shoshone, Pawnee) acceptance was almost unanimous; in others (like the Sioux) only segments of the population became believers. No Pueblo (except at Taos) or Navajo accepted it, the latter because of a culturally conditioned aversion to ghosts. As news of the Paiute prophet Wovoka began to spread, tribes sent delegations to the Walker Lake Reservation in western Nevada to see him. They returned with versions of his teachings that were sometimes shaped by the particular needs of their tribe. Among the Pawnee, the dance provided the basis for an important cultural renewal, for the visions of the dancers made possible the revival of old ceremonial activities that had fallen into disuse because knowledge of their correct performance had been lost. The Sioux, who had a number of current grievances against the government (e. g. , loss of reservation lands, cuts in rations), altered Wovoka's message in the direction of greater hostility toward the whites. Delegates like Short Bull and Kicking Bear advocated the use of "ghost shirts" (special garments that were supposed to make the wearer invulnerable to bullets) and spoke of the possibility of armed conflict with the government soldiers. During 1890, newspapers around the country carried often sensational stories about the "messiah craze" (Wovoka was often called the "Indian messiah") and the possibility of renewed warfare with the Sioux. Violence did erupt in December: during an attempt to arrest him, Chief Sitting Bull was shot to death, and Chief Big Foot and almost three hundred of his band were massacred by the cavalry at Wounded Knee. These events were more the result of government blunders than of a Sioux outbreak. Following the violence among the Sioux and the failure of the expected transformations the next spring, the popularity of the dance began to fade. However, it did not die out altogether. Wovoka remained active, but shifted his message in the direction of ethical admonitions. As late as 1896 some Kiowa were still dancing, and one of the early Northern Cheyenne delegates, Porcupine, led a brief revival of the dance in 1900. The movement continued elsewhere in a more substantive way. In the first decade of the twentieth century, Fred Robinson, an Assiniboin who had been instructed in the Ghost Dance by Kicking Bear and had corresponded with Wovoka, brought the dance to a small community of Sioux living in Saskatchewan. Combined with a traditional Medicine Feast, apocalyptic elements disappeared and the themes of ethical admonition and community solidarity predominated. Among the Wind River Shoshone (Wyoming), the Ghost Dance apparently combined with an earlier ceremony (the Father Dance) of thanksgiving to God for food. As a result, the annual renewal of nature took on a cosmic dimension: shamans reported dreams in which they saw the dead assembled in heaven waiting to return to earth at some unspecified time in the future. The people on earth anticipated this event and performed a dance thought to imitate that of the dead. In both these places the Ghost Dance continued to be performed into the 1950s. In the 1970s the dance was revived by the activist American Indian Movement. Even among persons and groups who no longer practice it, knowledge of the Ghost Dance has not died out and lessons are still derived from it. Thus ca. 1970 the Sioux medicine man Lame Deer reinterpreted an old Ghost Dance song about straightening arrows and killing and butchering buffalo to mean that individuals must live upright lives in order to help bring about a new earth. (See also: Ghost Dance, New Age Spirituality, Body Mind and Soul)
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