The Spiral DancE
New book but has a mark on the bottom
The twentieth anniversary edition of The Spiral Dance celebrates the pivotal role the book has had in bringing Goddess worship to the religious forefront. This bestselling classic is both an unparalleled reference on the practices and philosophies of Witchcraft and a guide to the life-affirming ways in which readers can turn to the Goddess to deepen their sense of personal pride, develop their inner power, and integrate mind, body, and spirit. Starhawk’s brilliant, comprehensive overview of the growth, suppression, and modern-day re-emergence of Wicca as a Goddess-worshipping religion has left an indelible mark on the feminist spiritual consciousness.
In a new introduction, Starhawk reveals the ways in which Goddess religion and the practice of ritual have adapted and developed over the last twenty years, and she reflects on the ways in which these changes have influenced and enhanced her original ideas. In the face of an ever-changing world, this invaluable spiritual guidebook is more relevant than ever.
“A very beautiful call for a worldly spirituality.” — “New York Times Book Review””Lucid, appealing…a broad philosophy of harmony with nature, of human concord, sexual liberation, creativity, and healthy pleasure, as expressed and celebrated in a freewheeling worship of the universe. “– “Kirkus Review”
About the Author
Starhawk is the author of nine books, including her bestselling The Spiral Dance, The Pagan Book of Living and Dying, and Webs of Power, winner of the 2003 Nautilus Award for social change. She has an international reputation, and her works have been translated into many different languages. Starhawk is also a columnist for beliefnet.com and ZNet. A veteran of progressive movements who is deeply committed to bringing the techniques and creative power of spirituality to political activism, she travels internationally, teaching magic, the tools of ritual, and the skills of activism. Starhawk lives part-time in San Francisco, in a collective house with her partner and friends, and part-time in a little hut in the woods in western Sonoma County, where she practices permaculture in her extensive gardens and writes.
Excerpt. © Reprinted by permission. All rights reserved.
Between the Worlds
The moon is full. We meet on a hilltop that looks out over the bay. Below us, lights spread out like a field of jewels, and faraway skyscrapers pierce the swirling fog like the spires of fairytale towers. The night is enchanted.
Our candles have been blown out, and our makeshift altar cannot stand up under the force of the wind, as it sings through the branches of tall eucalyptus. We hold up our arms and let it hurl against our faces. We are exhilarated, hair and eyes streaming. The tools are unimportant; we have all we need to make magic: our bodies, our breath, our voices, each other.
The circle has been cast. The invocations begin:
All-dewy, sky-sailing pregnant moon,Who shines for all.Who flows through all…Aradia, Diana, Cybele, Mah…Sailor of the last sea,Guardian of the gate,Ever-dying, ever-living radiance…Dionysus, Osiris, Pan, Arthur, Hu…The moon clears the treetops and shines on the circle. We huddle closer for warmth. A woman moves into the center of the circle. We begin to chant her name:
The chant builds, spiraling upward. Voices merge into one endlessly modulated harmony. The circle is enveloped in a cone of light.
Then, in a breath-silence.
“You are Goddess,” we say to Diane, and kiss her as she steps back into the outer ring. She is smiling.
She remembers who she is.
One by one, we will step into the center of the circle. We will hear our names chanted, feel the cone rise around us. We will receive the gift, and remember:
“I am Goddess. You are God, Goddess. All that lives, breathes, loves, sings in the unending harmony of being is divine. ”
In the circle, we will take hands and dance under the moon.
“To disbelieve in witchcraft is the greatest of all heresies.”
Malleus Maleficarum (1486)
On every full moon, rituals such as the one described above take place on hilltops, on beaches, in open fields, and in ordinary houses. Writers, teachers, nurses, computer programmers, artists, lawyers, poets, plumbers, and auto mechanics–women and men from many backgrounds come together to celebrate the mysteries of the Triple Goddess of birth, love, and death, and of her Consort, the Hunter, who is Lord of the Dance of life. The religion they practice is called Witchcraft.
Witchcraft is a word that frightens many people and confuses many others. In the popular imagination, Witches are ugly, old hags riding broomsticks, or evil Satanists performing obscene rites. Modern Witches are thought to be members of a kooky cult, primarily concerned with cursing enemies by jabbing wax images with pins, and lacking the depth, the dignity, and seriousness of purpose of a true religion.
But Witchcraft is a religion, perhaps the oldest religion extant in the West. Its origins go back before Christianity, Judaism, Islam–before Buddhism and Hinduism, as well, and it is very different from all the so-called great religions.
The Old Religion, as we call it, is closer in spirit to Native American traditions or to the shamanism of the Arctic. It is not based on dogma or a set of beliefs, nor on scriptures or a sacred book revealed by a great man. Witchcraft takes its teachings from nature, and reads inspiration in the movements of the sun, moon, and stars, the flight of birds, the slow growth of trees, and the cycles of the seasons.
According to our legends, Witchcraft began more than thirty-five thousand years ago, when the temperature of Europe began to drop and the great sheets of ice crept slowly south in their last advance. Across the rich tundra, teeming with animal life, small groups of hunters followed the free-running reindeer and the thundering bison. They were armed with only the most primitive of weapons, but some among the clans were gifted, could “call” the herds to a cliffside or a pit, where a few beasts, in willing sacrifice, would let themselves be trapped. These gifted shamans could attune themselves to the spirits of the herds, and in so doing they became aware of the pulsating rhythm that infuses all life, the dance of the double spiral, of whirling into being, and whirling out again. They did not phrase this insight intellectually, but in images: the Mother Goddess, the birthgiver, who brings into existence all life; and the Homed God, hunter and hunted, who eternally passes through the gates of death that new life may go on.
Male shamans dressed in skins and horns in identification with the Go and the herds; but female priestesses presided naked, embodying the fertility of the Goddess. Life and death were a continuous stream; the dead were buried as if sleeping in a womb, surrounded by their tools and ornaments, so that they might awaken to a new life. In the caves of the Alps, skulls of the great bears were mounted in niches, where they pronounced oracles that guided the clans to game. In lowland pools, reindeer does, their bellies filled with stones that embodied the souls of deer, were submerged in the waters of the Mother’s womb, so that victims of the hunt would be reborn.
In the East–Siberia and the Ukraine–the Goddess was Lady of the Mammoths; She was carved from stone in great swelling curves that embodied her gifts of abundance. In the West, in the great cave temples of southern France and Spain, her rites were performed deep in the secret wombs of the earth, where the great polar forces were painted as bison and horses, superimposed, emerging from the cave walls like spirits out of a dream.
The spiral dance was seen also in the sky: in the moon, who monthly dies and is reborn; in the sun, whose waxing light brings summer’s warmth and whose waning brings the chill of winter. Records of the moon’s passing were scratched on bone, and the Goddess was shown holding the bison horn, which is also the crescent moon.